I’m glad I gave Pereda another shot after Greatest Hits. This starts out rough, but leads to some likeably awkward scenes when Luisa’s new man Paco is failing to make an impression on her dad. Luisa’s brother Gabino is visiting at the same time (played by Gabino, who plays “Gabino” in all of Pereda’s films). Paco is an actor with a nonspeaking role on a season of Narcos, and the others want to see him perform, so he creates a larger speaking role for an impromptu acting showcase at a bar. The master-shot real-time thing, playing with performance and identity, all pretty appealing. But just like Greatest Hits replaced Gabino’s father halfway through (one of the fathers is playing his father again here), this movie shifts modes, becoming a story created by Luisa about strangers meeting at a hotel, all the actors from the first half as different people. It all feels minor but I was smiling the whole time.
Knots Landing and Family Plot star William Devane is a traumatized war vet who is pleasantly dispassionate to the investigating cops after his family is murdered and the killers run his hand through the sink disposal. Now with a hook hand, he gathers up war buddy Tommy Lee Jones and takes a revenge trip to Mexico.
Can pretty young Linda Haynes break through Devane’s armor? No
The year after Taxi Driver, Paul Schrader not a fan: “Schrader [says] he basically wrote a film about fascism, and the studio made a fascist film.” Looking up where I knew the director’s name from… wouldn’t have guessed Brainscan!
The couple years between Buñuel’s two Mexican bus films were productive, and this is a good one – better than Illusions Travel by Streetcar, anyway.
El Bruto is an exploited slaughterhouse worker, mocked by coworkers despite his strength, hired by a local landlord to terrorize the organizing tenants into leaving an apartment complex so it can be redeveloped. I wasn’t intending to watch two collectivist worker films in a row, just a happy accident.
While fleeing from the law after terrorizing the locals, a tragic chicken murder occurs. Then Bruto busts in on Meche, the woman whose chicken (and father) he killed, falls for her and attempts to manufacture a happy ending, but his wife Maria interferes.
Bruto had major roles in a couple John Ford movies and a James Bond. The landlord’s girl Maria Juado had a good Hollywood run in at least three major westerns and Under The Volcano. Wife Maria was better known as a ballet dancer, and Meche was in The Robot vs. The Aztec Mummy.
Bruto getting his orders from the landlord:
Bruto’s excuse for everything:
Bruto’s ex is enraged that he’s got a new girl:
Things end as they must, in a hail of gunfire:
Still filling in the gaps in my Buñuel viewing. A big year, with four of his movies released, and this was… certainly one of them. A couple of streetcar guys rescue a malfunctioning car but find out it’s still destined to be scrapped, so they get wasted and take it out on the town one last time, picking up passengers along the route.
Lupita, her brother Tarrajas, and Curls:
Everyone hashes out their societal problems on the bus – there’s a drunken lecture about how inflation causes poverty, and choice quotes like “too much of anything is detrimental – even efficiency.” It’s a madcap stolen-train adventure as an excuse for social commentary.
Fernando Soto (Curls) appeared in Gran Hotel (not Gran Casino), Carlos Navarro in Irving Rapper’s The Brave One, Lilia Prado in Buñuel’s Wuthering Heights. The retired company man who turns them in even though they saved his life (but the company doesn’t care) is Agustín Isunza, whose final film was Alucarda.
Our three lead murderers were definitively killed at the end of The Devil’s Rejects, gunned down in slow-motion, so how will Zombie make a sequel? They’re not dead, they were just wounded, and all better now! Sid Haig, alas, didn’t stay better for long, so he gets a brief scene before being replaced by Baby and Firefly’s half-brother Midnight Wolfman.
A decade after the previous movie ends, Wolfman springs Firefly (they murder a cameoing Danny Trejo along the way), then they threaten the cartoonishly facial-haired warden into freeing Baby, and the three run off to Mexico. That’s about a half-hour’s worth of movie – the rest is them deciding to fuck with strangers, then murdering them, or getting in trouble because strangers recognize them, then murdering them. It’s not a bad movie, surely a step up from the terrible 31, but it’s pretty unnecessary, and there’s no tension – the stakes are always low in a movie where no lives matter. Zombie exercises his TV/film texture fetish in the news footage covering the escaped outlaws, and builds to a big showdown in Mexico when the son of Danny Trejo comes with twenty armed dudes.
The Howling star Dee Wallace plays the vindictive prison guard in chage of Baby (Sheri Moon Zombie, always good in these things). Richard Edson (Sonic Youth, Stranger Than Paradise) is the dude in Mexico who puts them up (and turns them in). Bill Moseley was in about 40 movies between Zombie’s Halloween and this, mostly crappy horrors, and Wolfman Richard Brake played the only person Cage doesn’t kill in Mandy.
Based on a then-twenty-year-old novel, which somehow hasn’t been remade yet, but I suppose every movie about no-good men coming into money then turning into paranoid murderers is a remake in spirit. Damn good movie, but the true stories about the contested identity of the novel’s author are even better! John Huston’s fourth non-doc feature won oscars for himself and his dad, and his other movie that year won Claire Trevor an award.
A couple of downluck laborers overhear Walter Huston (just off playing “The Sinkiller” in Duel in the Sun) bragging about his prospectin’ skills, and they ask if he’d join them on an expedition. I didn’t know who was the bigger sucker, but it wasn’t the two Americans since Huston indeed had the knowledge and skills to find all the gold dust you please; it was jolly Huston for taking on these bozos as partners. I guess Tim Holt (prolific cowboy star, an Earp in My Darling Clementine) isn’t so bad. especially compared to his villainous partner Humphrey Bogart (what?) who becomes gold-crazed, tries to kill the others and finally gets murdered by banditos who lose all the gold dust to the wind (making The Killing another semi-remake).
Fourteen Things That Haunt Me, from most intense to least:
1. the birth scene…
2. the beach scene…
3. Trying to park the giant family car in the narrow driveway
4. Taxidermied dog heads on wall of the country house
5. Group martial arts demo with guru who stands on one leg
6. Solo nude martial arts demo
7. Dad taking the bookcases, leaving the books
8. All the dog shit in the driveway
9. Department store confrontation between Cleo and Fermín during a riot
10. Fermin going to the bathroom and never returning
11. Father going on a “business trip” and never returning
12. Mom calmly explaining to the kids that father has left
13. Drunken new year’s forest fire
14. The pried-in references to previous Cuarón movies
Preparation and conflagration of a two-day incendiary festival in a fireworks producing town. Day one is the Castles of Fire, then day two is the Bulls. We spend time with participants, mostly paying attention to stories about when things have gone wrong during past festivals leading to death and disfigurement, then watch the pretty sparks with the tension of hoping not to see anybody caught aflame. Missed this at True/False but it played on PBS in an apparently edited version. Lindy Lou, Juror Number Two seems to be cut even more, so this calls for investigation.
A massive particle accelerator is being shut down, and the team is scouting locations to build a new one in the Sonoran Desert along the U.S./Mexico border. We are focused on two female scientists who may be lovers, one of whom has two children visiting. None of the plot or character is extremely well defined, the movie content to float in a Super-8 haze, producing some lovely images but it’s all so diffuse and quiet and soothing and still that it was hard enough to stay awake, let alone figure what is going on.
Personal and professional setbacks… mild flashbacks to Tropical Malady… teenage insults… stories of a Weird Uncle… mystical talk about particles and sociopolitical talk about borders, while lost men search for the last North American jaguar. A kid nails his brother in the eye with a rock while their mom gets a snakebite… things happen all at once, in low trance tones.
Not sure who played what, but the main cast features Celia Au (star of Bad Tara), Andrea Chen (Lorelei’s roomie in Boyhood) and Jennifer Kim (Mozart in the Jungle, Wild Canaries). Carver also made an Anohni video and Schmidt made waves at Cannes this year with his weirdo soccer film Diamantino.
The word online is that the boys (played by girls btw) have an incestuous relationship, how did I miss this? Also, Schmidt’s dad was a particle physicist.
In conversation with Filmmaker magazine:
Psychology doesn’t really exist at all [in the film], and [it’s] replaced with desire. Everything is rendered as erotic, basically, in one way or another, but this eroticism and sensuality is not a reflection of the characters’ psychologies or the cultural psychologies that they belong to, but is simply a force.
The film is deliberately reckless and playful with representation, and this is sort of uniformly distributed. It’s not just people that are treated with this irreverence, but whole landscapes … We really wanted the film to be sensual and humorous and perverse. To maintain a level of chemistry, we’d sort of write forward and erase back. I think it ultimately helped to create a very pliable structure. One of the technical challenges was how to maintain the narrative threads. They’re very minor, but they exist.